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  • 小板橋 又久
    オリエント
    2005年 48 巻 2 号 87-101
    発行日: 2005年
    公開日: 2010/03/12
    ジャーナル フリー
    An important part of the NIN. DINGIR's installation is carried by the processions between the father's house and the temple of the weather god (dIM). There are five processions in this installation drama (Emar VI 369). We focus on the fourth procession (Emar VI 369: 45). After the priestess goes to the weather god's temple on the day of enthronement, she is carried to her father's house in the evening. We can see the order of participants clearly in Emar VI 369: 45. Namely, the singers are first, the NIN. DINGIR is second, and the divine weapon is last. The singers lead the fourth procession and it is likely that this involved singing or playing musical instruments, though no such mention is made. We can not see clearly the manner of procession from another ancient Near Eastern texts. The passage of Emar VI 369: 45 is unique from the point of musical culture in the ancient Near East.
    What is the function of musical activity in Emar VI 369: 45? It can be said that the divine weapon is associated with the NIN. DINGIR's sacred office in comparison with the text of Assyrian royal enthronement ritual (MVAG 41/3). The priestess is carried by two of her brothers in the fourth procession just like images of gods or divine emblems which are depicted in some drawings of the ancient Near East. We can see that the procession to the father's house is focused on the priestess. The city of Emar comes to a crisis when the former priestess died. The new priestess, who may bring welfare to the city of Emar, is sacred and important for the people of Emar. Processions, which accompany images of gods or divine emblems, function as a pattern of hierophany. Music is effective to produce hierophany in processional rituals. Thus we might see a production of hierophany in the musical activity of the fourth procession.
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